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    Examiner's Report 2008

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    emilyjaneboyle
    The examiner provides feedback on student responses to questions on drama before 1770 and poetry before 1900. Some key points: 1) Answers that demonstrated a strong knowledge of the texts through specific references and quotes scored higher than longer answers consisting mainly of narrative paraphrase. 2) Many answers lost marks by not directly engaging with the question asked. Students should avoid twisting questions to fit prepared answers. 3) Questions target specific assessment objectives, so directly answering the question asked will automatically address the relevant objectives. 4) For questions referring to literary concepts, students need to clearly define their interpretation of the concept to strengthen their answer.

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    Examiner's Report 2008

    Uploaded by

    emilyjaneboyle
    51 views1 page
    The examiner provides feedback on student responses to questions on drama before 1770 and poetry before 1900. Some key points: 1) Answers that demonstrated a strong knowledge of the texts through specific references and quotes scored higher than longer answers consisting mainly of narrative paraphrase. 2) Many answers lost marks by not directly engaging with the question asked. Students should avoid twisting questions to fit prepared answers. 3) Questions target specific assessment objectives, so directly answering the question asked will automatically address the relevant objectives. 4) For questions referring to literary concepts, students need to clearly define their interpretation of the concept to strengthen their answer.

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    The examiner provides feedback on student responses to questions on drama before 1770 and poetry before 1900. Some key points: 1) Answers that demonstrated a strong knowledge of the texts through specific references and quotes scored higher than longer answers consisting mainly of narrative paraphrase. 2) Many answers lost marks by not directly engaging with the question asked. Students should avoid twisting questions to fit prepared answers. 3) Questions target specific assessment objectives, so directly answering the question asked will automatically address the relevant objectives. 4) For questions referring to literary concepts, students need to clearly define their interpretation of the concept to strengthen their answer.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC or read online from Scribd
    Download as doc
    51 views1 page

    Examiner's Report 2008

    Uploaded by

    emilyjaneboyle
    The examiner provides feedback on student responses to questions on drama before 1770 and poetry before 1900. Some key points: 1) Answers that demonstrated a strong knowledge of the texts through specific references and quotes scored higher than longer answers consisting mainly of narrative paraphrase. 2) Many answers lost marks by not directly engaging with the question asked. Students should avoid twisting questions to fit prepared answers. 3) Questions target specific assessment objectives, so directly answering the question asked will automatically address the relevant objectives. 4) For questions referring to literary concepts, students need to clearly define their interpretation of the concept to strengthen their answer.

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    Examiner’s Report

    LTB5 Set Texts: Drama before 1770; Poetry before 1900


    General
    Examiner’s saw:
    • Candidates who knew the texts well and could use specific references and quotations
    to support their arguments scored highly. However, it should be kept in mind that
    length is not necessarily indicative of quality. There were a number of very long
    scripts with low scores, often because the answers tended to be narrative paraphrase.
    • Examiners also noted that a number of potentially good answers did not engage
    directly with the questions and consequently lost marks. Candidates are advised
    against twisting questions to fit prepared answers as this is rarely successful. Equally,
    candidates who have practised questions from previous papers should avoid re-
    presenting these answers as they will not necessarily fit this year’s question!
    • Candidates should also remember that the questions are designed to target the
    designated assessment objectives and therefore, if they answer the question asked,
    they will automatically engage with the relevant objectives.
    • One final general comment concerns the terms of the questions. When questions
    include reference to literary concepts, candidates are advised to consider their
    definitions of these concepts very carefully. For example, question 3b on Coleridge
    asked for consideration of the ‘gothic’ elements and a clear definition of the
    candidate’s interpretation of this concept would have greatly improved many answers.

    SECTION A: POETRY
    • In this section, focus on form, structure and language is essential, as AO3 is targeted.
    The different texts on the paper seem to invite varying degrees of success with
    regards to this assessment objective.
    • Many answers depended heavily on character study rather than analysis of language.
    • The critical viewpoints expressed in some answers were also often interesting and
    original, showing some thoughtful engagement with alternative interpretations.
    • The terms of some of the questions were often not noted with sufficient care.
    • Tennyson.s poetry was a popular choice this series. Again, though, the specific terms
    of the questions were not always considered. In question 4a on symbolism, many
    candidates ranged too freely over many other features of form and language. Whilst
    examiners were prepared to be fairly flexible about what candidates considered to be
    a symbol, it was difficult to give credit for discussion of punctuation and syntax.
    • With regards to AO4, many answers effectively considered a wide range of readings
    and showed a strong sense of personal response. Although biographical readings of
    the texts can be valid ways of interpreting the poems, candidates should guard against
    long passages of biography as a substitute for literary interpretation. There were many
    examples of paragraphs detailing Coleridge’s opium addiction and an equal number
    exploring Tennyson’s relationship with Hallam.

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